Tag Archives: The Beatles

Easter 2018 This is a movie hook post that wants to become a music hook post. I’m starting with an image from Tarzan and His Mate (1934), one of a number of production stills in which Maureen O’Sullivan looks very happy indeed … Continue reading →

You can’t always assume you’ll be welcome if you arrive earlier than expected. In music, at least, there are some generally good ways to grab your audience by showing up early, some of which have been discussed on this site: … Continue reading →

I wish there were annual conferences, or music festivals, with rival presentations on what most importantly happened in hook history in a certain year. Since I’m conducting a festival of sorts for 1967 here in these last months of 2017, … Continue reading →

What good does it do to pay tribute? What does it accomplish to declare to the world that you see the worth of something, that you thrill to it? The question seems pressing to me after my last post, which … Continue reading →

“Riff” is a term of uncertain origin and very loose usage. The theory that it’s an abbreviation of “refrain” (as part of a song) is plausible, given that repetition is the premise and in some sense the goal of riffing.[1] … Continue reading →

Late have I discovered that David Bordwell proposes his own distinctive hook concept for purposes of analyzing movie continuity. A Bordwellian hook is an image or sound idea at the end of a scene that is picked up again at … Continue reading →

Music is intense—it’s an intensification of tone and felt time—but a paradox of music is that its intensity ploys generate their own defeaters. The especially pure or loud tone just is the recognized idiom of that singer or instrument—the means, … Continue reading →